mostly mozart festival...

Friday and Saturday Evenings, August 21–22, 2015, at 7:30

Pre-concert lecture by Elaine Sisman on Friday, August 21 at 6:15 in the Stanley H. Kaplan Penthouse

Mostly Mozart Festival OrchestraLouis Langrée, ConductorSarah Tynan, Soprano M|MAndrew Staples, Tenor M|MBrindley Sherratt, Bass M|MConcert Chorale of New YorkJames Bagwell, Director

HAYDN The Creation (1796–98)

This program is approximately one hour and 50 minutes long and will be performed without intermission.

M|M Mostly Mozart debut

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These performances are made possible in part by the Josie Robertson Fund for Lincoln Center.

Please make certain all your electronic devices are switched off.

Fortepiano courtesy of Dongsok ShinAvery Fisher Hall

(Program continued)

08-21 MMFO Creation_Gp 3.qxt 8/12/15 2:51 PM

Mostly Mozart Festival

The Mostly Mozart Festival is made possible by Sarah Billinghurst Solomon and Howard Solomon,Rita E. and Gustave M. Hauser, Chris and Bruce Crawford, The Fan Fox and Leslie R. SamuelsFoundation, Inc., Charles E. Culpeper Foundation, S.H. and Helen R. Scheuer Family Foundation, and Friends of Mostly Mozart.

Public support is provided by the New York State Council on the Arts.

Artist Catering provided by Zabar’s and zabars.com

MetLife is the National Sponsor of Lincoln Center

United Airlines is a Supporter of Lincoln Center

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“Summer at Lincoln Center” is supported by Diet Pepsi

Time Out New York is a Media Partner of Summer at Lincoln Center

Join the conversation: #LCMozart

We would like to remind you that the sound of coughing and rustling paper might distract theperformers and your fellow audience members.

In consideration of the performing artists and members of the audience, those who must leavebefore the end of the performance are asked to do so between pieces. The taking of photographsand the use of recording equipment are not allowed in the building.



HAYDN: The Creation (1796–98)

PART IIntroduction: The Representation of ChaosRecitative with Chorus: In the beginningAria: Now vanish before the holy beamsRecitative: And God made the firmamentChorus with Soprano Solo: The marv’lous work beholds amaz’dRecitative: And God said: Let the watersAria: Rolling in foaming billowsRecitative: And God said: Let the earth bring forth grassAria: With verdure clad the fields appearRecitative: And the heavenly hostChorus: Awake the harpRecitative: And God said: Let there be lightsRecitative: In splendor bright is rising nowChorus with Solos: The heavens are telling the glory of God

PART IIRecitative: And God said: Let the waters bring forthAria: On mighty pens uplifted soarsRecitative: And God created great whalesRecitative: And the angels struck their immortal harpsTrio: Most beautiful appearChorus with Solos: The Lord is great, and great his mightRecitative: And God said: Let the earth bring forthRecitative: Strait opening her fertile wombAria: Now heav’n in fullest glory shoneRecitative: And God created manAria: In native worth and honor cladRecitative: And God saw ev’rythingChorus: Achieved is the glorious workTrio: On thee each living soul awaitsChorus: Achieved is the glorious work

PART IIIRecitative: In rosy mantle appearsDuet and Chorus: By thee with bliss, O bounteous LordRecitative: Our duty we performed nowDuet: Graceful consort! At thy sideRecitative: O happy pairChorus: Sing the Lord ye voices all!

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Welcome to Mostly MozartI am pleased to welcome you to the 49th Mostly Mozart Festival, our annualcelebration of the innovative and inspiring spirit of our namesake composer.This summer, in addition to a stellar roster of guest conductors and soloists, weare joined by composer-in-residence George Benjamin, a leading contemporaryvoice whose celebrated opera Written on Skin receives its U.S. stage premiere.This landmark event is the first in a series of staged opera works to be presentedin a new partnership with the New York Philharmonic.

Written on Skin continues our tradition of hearing Mozart afresh in the contextof the great music of our time. Under the inspired baton of Renée and RobertBelfer Music Director Louis Langrée, the Mostly Mozart Festival Orchestradelights this year with the Classical repertoire that is its specialty, in additionto Beethoven’s joyous Seventh Symphony and Haydn’s triumphant Creation.

Guest appearances include maestro Cornelius Meister making his New Yorkdebut; Edward Gardner, who also leads the Academy of Ancient Music in aMendelssohn program on period instruments; and Andrew Manze with violinistJoshua Bell in an evening of Bach, Mozart, and Schumann. Other preeminentsoloists include Emanuel Ax, Matthias Goerne, and festival newcomers SolGabetta and Alina Ibragimova, who also perform intimate recitals in ourexpanded Little Night Music series. And don’t miss returning favorite EmersonString Quartet and artists-in-residence the International ContemporaryEnsemble, as well as invigorating pre-concert recitals and lectures, a paneldiscussion, and a film on Haydn.

With so much to choose from, we invite you to make the most of this rich andsplendid season. I look forward to seeing you often.

Jane MossEhrenkranz Artistic Director



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shot By Peter A. Hoyt

Whereas the Book of Genesis portrays the creative acts of a solitarydeity, Haydn’s musical reworking of the account adds threearchangels (performed by vocal soloists, who provide narration andpoetic reflections), a host of jubilant angels (represented by the chorus),and—very briefly—some non-singing demons. Haydn’s inventive useof the orchestra introduces additional characterizations that typicallyappear before being explained in words. These musical depictionsinclude portrayals of the boisterous sea, various types of weather,and a wide range of animals. Particularly striking is Haydn’s ability todelineate such seemingly intangible concepts as the primordial chaosthat precedes God’s intervention, the first beams of light, and thewonder of the first mortals encountering a newly created world.

Cast in three asymmetrical parts, The Creation begins with the fourdays spent fashioning the heavens, the earth, and the plants. The secondsection depicts the fifth and sixth days, in which sentient lifeappears—here are animals capable of feeling and, with the appearanceof man, reason. The conclusion models a fitting use of that reason asAdam and Eve survey Creation and join the angels in praising its Creator.

—Copyright © 2015 by Lincoln Center for the Performing Arts, Inc.


Mostly Mozart Festival I Note on the Program

By Peter A. Hoyt

The Creation, Hob. XXI:2 (1796–98)JOSEPH HAYDNBorn March 31, 1732, in Rohrau, AustriaDied May 31, 1809, in Vienna

Approximate length: One hour and 50 minutes

In 1795, during Haydn’s second visit to England, the composer was givena libretto based on the biblical account of Creation. The manuscript apparentlydid not identify its author, but Haydn believed that it had been prepared for(but not used by) George Frideric Handel, who had been writing oratoriosin London and Dublin in the 1730s and 1740s. The libretto was thereforeapproximately 50 years old, and it incorporated passages from Englishpublications that were older still, including John Milton’s Paradise Lost of1667, psalms from several 17th-century British sources, and the KingJames Bible of 1611. The language is at times archaic, as when it saysthat the praise of the Lord “shall last for aye.”

Despite the age of its text and sources, Haydn’s finished composition hasoften been associated with the 18th century’s most progressive philosophicalideals. Historians have cited The Creation as representing theEnlightenment, an intellectual movement that emphasized empiricalobservation and reason over revelation and tradition as the basis forknowledge, spirituality, and politics. Enlightenment philosophers did notnecessarily reject religion, but they questioned its irrational aspects, aswhen in 1784 Immanuel Kant criticized the church’s traditional “dogmasand formulas.” Similarly, in 1776 Thomas Jefferson attacked the classdistinctions that empowered Europe’s aristocracies by asserting that “allmen are created equal.”

The influence of the Enlightenment on The Creation has been attributed,in part, to Haydn’s collaborator in Vienna, Baron Gottfried van Swieten,who amended the English libretto. He also prepared a German translationthat, by preserving the prosody of the original, allowed Haydn to createvocal lines that suited both languages. This aristocratic musical amateurhad served Austria’s “enlightened despot,” Joseph II, during the latter’sunsuccessful attempts to reform his sprawling domain. It has seemedplausible that in preparing the libretto, van Swieten still adhered toJosephinian principles.

It is, however, Haydn’s opening musical sequence that makes TheCreation seem an Enlightenment statement. The work begins with anorchestral illustration of an inchoate cosmos and progresses to the triumphantfirst appearance of light. Haydn’s depiction of the luminous dispelling the darkhas been compared to reason overthrowing ignorance and superstition.

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The opening gesture of the piece has thus been seen as a tribute to theEnlightenment itself.

The portrayal of humanity in The Creation has also been considered consistentwith Enlightenment thought. Whereas much theology regards individuals asinherently sinful, easily misled by their senses, and woefully limited in theirintellectual capacities, The Creation celebrates man as “that wond’rousbeing” who is “the Lord and King of nature all.” Adam and Eve are notdepicted as fallen creatures; the serpent, the forbidden fruit, and the expulsionfrom Eden are all omitted. Instead, the three-part structure of the oratorio isdecidedly anthropocentric, culminating with the happy pair surveying God’shandiwork and inferring the majesty of their Creator. Although Haydn’s musicalrenderings of the first sunrise, the cooing dove, the roaring lion, and other actsof Creation offer some of the most memorable moments of the composition,it is only with the advent of humanity that God’s “glorious work” is complete.

Despite all this, however, there are powerful reasons to doubt whether TheCreation was intended to advocate Enlightenment thought. In 1797, whenHaydn began composing the oratorio, Enlightenment philosophers were beingaccused of instigating the chaos then engulfing Europe. France, the intellectualcenter of the new philosophy, had since 1789 overthrown and executed theirmonarchs, supplanted Christianity with a “Cult of Reason,” launched theReign of Terror, and—led by a young Napoleon—conquered much of Italy.Europe blamed this turmoil on intellectuals whose critiques had weakened thereligious and political foundations of the ancien régime.

This new opposition to Enlightenment thought outside France may prove thatHaydn’s oratorio was actually intended as anti-revolutionary propaganda. Thisinterpretation is supported both by the circumstances of its premiere in 1798,which was financed by a society of Viennese nobility, and by the subscribersto the first edition of the score, which included the crowned heads of themajor European powers, including England, Russia, and the Holy RomanEmpire. There were few subscriptions from among the French, however, andin 1800 some royalist conspirators attempted to assassinate Napoleon as he droveto the Paris premiere of the work. It is as if The Creation signaled resistance to thenew political order.

If The Creation was conceived as part of the so-called “Counter-Enlightenment,” it would need to engage and refute the imagery employed bythe philosophers. Accordingly, the libretto associates the creation of light notwith knowledge or reason, but rather with the power to subdue disorder.Order thus hinges on the divine presence, and one may infer that atheisminevitably leads to chaos. Moreover, the libretto repeatedly suggests that thedignity of the human condition hinges upon the ability to survey God’s handiworkand “with devoted heart his bounty celebrate.” The anthropocentric conclusionof the oratorio is therefore not a tribute to reason itself, but a modeling ofreason’s proper use.



What is perhaps the clearest refutation of Enlightenment thought comes atthe close of the work, when a soloist explains to Adam and Eve, who bothrepresent humanity, that their happiness requires they not “strive at more asgranted is, and more to know as know ye should.” The Enlightenment rec-ognized no limits on knowledge, and the injunction runs directly counter toKant’s motto for the Enlightenment’s aspirations: “Sapere aude! Have thecourage to use your own understanding.” Such daring, it seems, was not tobe encouraged when the European aristocracy was in danger.

A society confronting its own dissolution may feel compelled to re-examinethe stories of its origins; Milton himself wrote Paradise Lost after the collapseof the Puritan government he had fervently supported. Haydn’s inspiredresponse to a decades-old libretto may have stemmed, in part, from a beliefthat his society was threatened—and needed a powerful corrective.

Peter A. Hoyt, a former president of the Mozart Society of America, has hadresearch on Haydn and Mozart appear in the New Grove Dictionary of Musicand Musicians, the Cambridge University Press, and the New York Times. Acurator at the Columbia Museum of Art, he also teaches at the University ofSouth Carolina.

—Copyright © 2015 by Lincoln Center for the Performing Arts, Inc.


Mostly Mozart Festival I Libretto

The CreationText: Gottfried van Swieten

PART I

Introduction: The Representation of Chaos

Recitative with ChorusRaphael:In the beginning God created the heav’n and the earth;and the earth was without form, and void;and darkness was upon the face of the deep.

Chorus:And the Spirit of God moved on the face of the waters;and God said: Let there be Light,and there was Light.

Uriel:And God saw the Light, that it was good:and God divided the Light from the darkness.

AriaUriel:Now vanish before the holy beams the gloomy

dismal shades of dark;the first of days appears. Disorder yields to order fair the place.Affrighted fled hell’s spirits black in throngs;down they sink in the deep of abyss to endless night.

Chorus:Despairing, cursing rage attends their rapid fall.A new created world springs up at God’s command.

RecitativeRaphael:And God made the firmament,and divided the waters, which were under the

firmament,from the waters, which were above the firmament:and it was so.Outrageous storms now dreadful arose;as chaff by the winds impelled are the clouds.By heaven’s fire the sky is enflamed,and awful rolled the thunders on high.Now from the floods in steams ascend (Please turn the page quietly.)


reviving showers of rain,the dreary wasteful hail,the light and flaky snow.

Chorus with Soprano SoloGabriel and Choir:The marv’lous work beholds amaz’d the glorious hierarchy of heav’n,and to th’ethereal vaults resound the praise of God, and of the second day.

RecitativeRaphael:And God said:Let the waters under the heaven be gathered

together unto one place,and let the dry land appear;and it was so.And God called the dry land: Earth,and the gathering of waters called he Seas;and God saw that it was good.

AriaRaphael:Rolling in foaming billowsuplifted roars the boist’rous sea.Mountains and rocks now emerge,their tops into the clouds ascend.Thro’ th’open plains outstretching wide in serpent error rivers flow.Softly purling glides on thro’ silent vales the limpid brook.

RecitativeGabriel:And God said:Let the earth bring forth grass, the herb yielding seed,and the fruit tree yielding fruit after his kind,whose seed is in itself upon the earth; and it was so.

AriaGabriel:With verdure clad the fields appear delightful to the ravish’d sense;by flowers sweet and gay enhanced is the charming sight.Here vent their fumes the fragrant herbs, here shoots the healing plant.By load of fruits th’expanded boughs are press’d;to shady vaults are bent the tufty groves;the mountain’s brow is crown’d with closed wood.

RecitativeUriel:And the heavenly host proclaimed the third day, praising God and saying:




ChorusChorus:Awake the harp, the lyre awake!In shout and joy your voices raise!In triumph sing the mighty Lord!For he the heavens and earth has clothed in stately dress.

RecitativeUriel:And God said:Let there be lights in the firmament of heavento divide the day from the night,and to give light upon the earth;and let them be for signs and for seasons,and for days, and for years.He made the stars also.

RecitativeUriel:In splendor bright is rising now the sun and darts his rays;an am’rous joyful happy spouse,a giant proud and gladto run his measur’d course.With softer beams and milder light steps on the

silver moonthro’ silent night.The space immense of th’azure skyinnum’rous host of radiant orbs adorns,and the sons of God announced the fourth day in song divine,proclaiming thus his power:

Chorus with SolosChorus:The heavens are telling the glory of God.The wonder of his works displays the firmament.

Gabriel, Uriel, Raphael:To day that is coming speaks it the day;the night, that is gone, to following night.

Chorus:The heavens are telling…

Gabriel, Uriel, Raphael:In all the lands resounds the word,never unperceived, ever understood.

Chorus:The heavens are telling… (Please turn the page quietly.)



PART II

RecitativeGabriel:And God said:Let the waters bring forth abundantly the moving creature that hath life,and fowl that may fly above the earth in the open firmament of heaven.

AriaGabriel:On mighty pens uplifted soars the eagle aloft,and cleaves the sky in swiftest flight to the blazing sun.His welcome bids to morn the merry lark,and cooing calls the tender dove his mate.From ev’ry bush and grove resound the nightingale’s delightful notes.No grief affected yet her breast,nor to a mournful tale were tun’d her soft enchanting lays.

RecitativeRaphael:And God created great whales, and ev’ry living creature that moveth,and God blessed them, saying,Be fruitful all, and multiply, ye winged tribes,be multiply’d, and sing on ev’ry tree.Multiply, ye finny tribes, and fill each wat’ry deep.Be fruitful, grow and multiply!And in your God and Lord rejoice!

RecitativeRaphael:And the angels struck their immortal harps,and the wonders of the fifth day sung.

TrioGabriel:Most beautiful appear, with verdure young adorn’d the gently sloping hills.Their narrow sinuous veins distill in crystal drops, the fountain fresh and bright.

Uriel:In lofty circles plays, and hovers thro’ the sky, the cheerful host of birds.And in the flying whirl the glitt’ring plumes are dy’d, as rainbows by the sun.


Raphael:See flashing thro’ the wet in thronged swarms the fry on thousand ways

around.Upheaved from the deep th’immense Leviathan sports on the foaming wave.

Gabriel, Uriel, Raphael:How many are thy works, O God!Who may their number tell?Who? O God!

Chorus with SolosGabriel, Uriel, Raphael, and Chorus:The Lord is great, and great his might,his glory lasts for ever, and for evermore.

RecitativeRaphael:And God said: Let the earth bring forth the living creature after his kind,cattle, and creeping thing, and beasts of the earth after their kind.

RecitativeRaphael:Strait opening her fertile womb, the earth obey’d the word,and teem’d creatures numberless, in perfect forms and fully grown.Cheerful roaring stands the tawny lion.With sudden leap the flexible tiger appears.The nimble stag bears up his branching head.With flying mane and fiery look, impatient neighs the sprightly steed.The cattle in herds already seeks his food on fields and meadows green.And o’er the ground, as plants, are spread the fleecy, meek and bleating flock.Unnumber’d as the sands in whirl arose the host of insects.In long dimensions creeps with sinuous trace the worm.

AriaRaphael:Now heav’n in fullest glory shone; earth smiles in all her rich attire.The room of air with fowl is fill’d, the water swell’d by shoals of fish;by heavy beasts the ground is trod.But all the work was not complete.There wanted yet that wond’rous being,that grateful should God’s pow’r admire, with heart and voice his goodness praise.


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RecitativeUriel:And God created man in his own image.In the image of God created he him. Male and female created he them.He breathed in to his nostrils the breath of life,and man became a living soul.

AriaUriel:In native worth and honor clad, with beauty, courage, strength adorn’d,to heav’n erect and tall he stands a man, the Lord and King of nature all.The large and arched front sublime of wisdom deep declares the seat,and in his eyes with brightness shines the soul, the breath and image of his God.With fondness leans upon his breast the partner for him form’d,a woman fair and graceful spouse.Her softly smiling virgin looks, of flow’ry spring the mirror,bespeak him love and joy and bliss.

Recitative Raphael:And God saw ev’rything, that he had made; and behold, it was very good;and the heavenly choir in song divine thus closed the sixth day.

ChorusChorus:Achieved is the glorious work,the Lord beholds it and is pleas’d.In lofty strains let us rejoice! Our song let be the praise of God!

TrioGabriel, Uriel:On thee each living soul awaits;from thee, O Lord, they beg their meat.Thou openest thy hand, and sated all they are.

Raphael:But when thy face, O Lord, is hid, with sudden terror they are struck.Thou tak’st their breath away;they vanish into dust.


Gabriel, Uriel, Raphael:Thou sendest forth thy breath again,and life with vigor fresh returns.Revived earth unfolds new force and new delights.

ChorusChorus:Achieved is the glorious work.Our song let be the praise of God!Glory to his name for ever,he sole on high exalted reigns,alleluia.

PART III

RecitativeUriel:In rosy mantle appears, by tunes sweet awak’d, the morning young and fair.From the celestial vaults pure harmony descends on ravished earth.Behold the blissful pair, where hand in hand they go!Their flaming looks express what feels the grateful heart.A louder praise of God their lips shall utter soon.Then let our voices ring, united with their song!

Duet and ChorusEve, Adam:By thee with bliss, O bounteous Lord, the heav’n and earth are stor’d.This world, so great, so wonderful, thy mighty hand has fram’d.

Chorus:For ever blessed be his pow’r.His name be ever magnify’d!

Adam:Of stars the fairest, pledge of day, that crown’st the smiling morn! How brighten’st thou, O sun, the world,thou eye and soul of all!

Chorus:Proclaim in your extended course the glorious pow’r and might of God!





Eve:And thou that rul’st the silent night, and all ye starry host,spread wide and ev’rywhere his praise in choral songs about!

Adam:Ye strong and cumbrous elements who ceaseless changes make,ye dusky mists and dewy steams who raise and fall thro’ th’air,

Adam, Eve, Chorus:Resound the praise of God our Lord!Great his name, and great his might.

Eve:Ye purling fountains tune his praise and wave your tops, ye pines!Ye plants exhale, ye flowers breathe at him your balmy scent!

Adam:Ye, that on mountains stately tread and ye that lowly creep,ye birds, that sing at heavens gate, and ye that swim the stream,

Adam, Eve, Chorus:ye living souls extol the Lord!Him celebrate, him magnify!

Adam, Eve:Ye valleys, hills and shady woods, our raptur’d notes ye heard;from morn to eve you shall repeat our grateful hymns of praise.

Chorus:Hail, bounteous Lord! Almighty, hail!Thy word called forth this wondrous frame.Thy pow’r adore the heav’n and earth;we praise thee now and evermore.

RecitativeAdam:Our duty we performed now,in off’ring up to God our thanks.Now follow me dear partner of my life!thy guide I’ll be; and ev’ry step pours new delights into our breast, shews wonders ev’rywhereThen may’st thou feel and know the high degree of bliss the Lord allotted us,and with devoted heart his bounty celebrate.Come, come, follow me! thy guide I’ll be.


Eve:O thou, for whom I am!My help, my shield, my all!Thy will is law to me.So God, our Lord, ordains,and from obedience grows my pride and happiness.

DuetAdam:Graceful consort!At thy side softly fly the golden hours.Ev’ry moment brings new rapture; ev’ry care is put to rest.

Eve:Spouse adored! At thy side purest joys o’erflow the heart.Life and all I am is thine,my reward thy love shall be.

Adam, Eve:The dew dropping morn, O how she quickens all!The coolness of ev’n,O how she all restores!How grateful is of fruits the savor sweet!How pleasing is of fragrant bloom the smell!But without thee, what is to me the morning dew, the breath of ev’n, the sav’ry fruits, the fragrant bloom?With thee is ev’ry joy enhanced; with thee delight is ever new; with thee is life incessant bliss; thine it whole shall be.

RecitativeUriel:O happy pair, and always happy yet, if not, misled by false conceit, ye strive at more as granted is, and more to know as know ye should!





ChorusSing the Lord ye voices all!Utter thanks all ye his works.Celebrate his pow’r and glory.Let his name resound on high!The Lord is great, his praise shall last for aye.Amen.

—The New Novello Choral Edition


Louis Langrée, music director of the Mostly Mozart Festival since December2002, was named Renée and Robert Belfer Music Director in August 2006.Under his musical leadership, the Mostly Mozart Festival Orchestra hasreceived extensive critical acclaim, and their performances are an annualsummertime highlight for classical music lovers in New York City.

Mr. Langrée is also music director of the Cincinnati Symphony Orchestra andchief conductor of Camerata Salzburg. During the 2015–16 season, he willconduct the Cincinnati Symphony Orchestra at Lincoln Center as part of theGreat Performers series. At home in Ohio, the ensemble’s performances willinclude a Brahms festival and three world-premiere concertos for orchestra.Mr. Langrée will also tour Germany with Cam erata Salzburg. His guestengagements include appearances with the Gewandhaus Orchestra ofLeipzig and performances of Così fan tutte at the Aix-en-Provence Festival.

Mr. Langrée frequently appears as guest conductor with the Berlin andVienna Philharmonics, Budapest Festival Orchestra, London PhilharmonicOrchestra, Paris Orchestra, and NHK Symphony Orchestra, as well as withthe Freiburg Baroque Orchestra and Orchestra of the Age of Enlightenment.His opera engagements include appearances with the Metropolitan Opera,Lyric Opera of Chicago, La Scala, Opéra Bastille, Royal Opera House–CoventGarden, and the Vienna State Opera. Mr. Langrée was appointed Chevalierdes Arts et des Lettres in 2006 and Chevalier de l’Ordre National de la Légiond’Honneur in 2014.

Mr. Langrée’s first recording with the Cincinnati Symphony Orchestra,released in September 2014, features commissioned works by Nico Muhlyand David Lang, as well as Copland’s Lincoln Portrait narrated by MayaAngelou. His DVD of Verdi’s La traviata from the Aix-en-Provence Festivalfeaturing Natalie Dessay and the London Symphony Orchestra was awardeda Diapason d’Or. His discography also includes recordings on the Accord,Naïve, Universal, and Virgin Classics labels.

Mostly Mozart Festival I Meet the Artists

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Louis LangréeJENNIFER TAYLOR



Sarah Tynan’s exceptional versatilityand engaging stage presence haveearned her a place in the league ofelite British sopranos. During the2014–15 season, Ms. Tynan sang theworld premiere of Dai Fujikura’sSolaris at Théâtre des Champs-Élysées, Opéra de Lille, and Opérade Lausanne. She also sang Haydn’sCreation with the London SymphonyOrchestra and the Handel and HaydnSociety, Toch’s Die chinesische Flötewith the Continuum Ensemble, and a

Vivaldi program with the Orchestra of the Age of Enlightenment. Forthcomingengagements include performances of Merab in Handel’s Saul withGlyndebourne Tour, Ginevra in Handel’s Ariodante with Scottish Opera,Mendelssohn’s Elijah at Southwell Music Festival, Mahler’s Symphony No. 4 atthe Ryedale Festival, and concerts with the London Philharmonic Orchestra andthe London, BBC, Bournemouth, and City of Birmingham symphony orchestras.

Operatic highlights include performances of Manon in Henze’s BoulevardSolitude at Welsh National Opera, for which she received a Wales TheatreAward; Marzelline in Fidelio at English National Opera; Carrie Pipperidge inCarousel at Opera North; Sharon Disney in the world premiere of Philip Glass’sThe Perfect American at Madrid’s Teatro Real and then at English NationalOpera; Susanna in Le nozze di Figaro at Cincinnati Opera; Iris in Semele at LaMonnaie; Dalinda in Ariodante at Ópera de Oviedo; and Servilia in La clemenzadi Tito with the Orchestra of the Age of Enlightenment.

On the concert platform, Ms. Tynan has sung Orff’s Carmina Burana with theCincinnati Symphony Orchestra, BBC Philharmonic, Royal PhilharmonicOrchestra, and BBC National Orchestra of Wales; Mahler’s Symphony No. 8with the Royal Scottish National and Philharmonia Orchestras; Handel’sMessiah with the Early Opera Company; Ryan Wigglesworth’s Augenliederwith the City of Birmingham Symphony Orchestra; Dallapiccola’s Partita withthe BBC Philharmonic at the BBC Proms; and Campra’s Le carnaval de Venisewith Le Concert Spirituel and Hervé Niquet.

Sarah Tynan© CHRIS GLOAG


Tenor Andrew Staples sang as achorister in St. Paul’s Cathedralbefore winning a choral scholarshipto King’s College, Cambridge, wherehe earned a degree in music. Hewas the first recipient of the RCMPeter Pears Scholarship, sponsoredby the Britten-Pears Foundation, atthe Royal College of Music andsubsequently joined the BenjaminBritten International Opera School.He studies with Ryland Davies. Hisconcert engagements include

Schumann’s Das Paradies und die Peri with the Berlin Philharmonic withSimon Rattle and the Swedish Radio Symphony Orchestra with DanielHarding; Mahler’s Das Lied von der Erde with the Orchestra Academy of theBerlin Philharmonic, Magdalena Kožená, and Rattle; Britten’s Serenade withthe Swedish Chamber Orchestra conducted by Andrew Manze; Britten’s WarRequiem at the King’s College Chapel with David Hill; and Mozart’s Requiemwith the Scottish Chamber Orchestra and Manze.

Mr. Staples made his Royal Opera House–Covent Garden debut as Jacquino(Fidelio), returning for Flamand (Capriccio), Tamino (Die Zauberflöte),Artabanes (Artaxerxes), and Narraboth (Salome). He sang Belfiore (La fintagiardiniera) for Prague’s National Theatre and Don Ottavio (Don Giovanni) forthe Salzburg Festival. He has also sung Ferrando (Così fan tutte) for OperaHolland Park and Narraboth for the Hamburg State Opera. He semi-staged andsang Tamino for the Lucerne Music Festival and at Drottningholms Slottsteaterwith Daniel Harding conducting.

Mr. Staples will sing Kudrjáš (Kát’a Kabanová) and Luzio (Das Liebesverbot) forthe Royal Opera House–Covent Garden and Madrid’s Teatro Real. In concerthe appears with the Philadelphia Orchestra; the BBC, Swedish Radio,Bavarian Radio, and London symphony orchestras; and the Berlin andVienna Philharmonics.


Andrew Staples



Born in Lancashire, UK, bass BrindleySherratt studied at the Royal Academyof Music, where he is now a visitingprofessor. His 2014–15 engagementsinclude Sparafucile in Rigoletto at theRoyal Opera House–Covent Garden,Sarastro in Die Zauberflöte atNetherlands Opera, the King in Inésde Castro in his debut at ScottishOpera, Trulove in The Rake’s Progressin his debut at the MetropolitanOpera, and Bottom in A MidsummerNight’s Dream in his debut at theAix-en-Provence Festival.

Notable career highlights have included Sarastro (Die Zauberflöte), Gremin(Eugene Onegin), Narbal (Les Troyens), and Ramfis (Aida) at the Royal OperaHouse–Covent Garden; Balducci (Benvenuto Cellini) and Hobson (PeterGrimes) in Salzburg; Sarastro at the Vienna and Hamburg State Operas; andClaggart (Billy Budd) and Rocco (Fidelio) at Glyndebourne. His many roles forEnglish National Opera have included Sarastro and Fiesco (SimonBoccanegra); other appearances include Banco (Macbeth) for the OpéraNational de Bordeaux; Pimen (Boris Godunov) for the Nice Opera; Rocco inSeville; Il Commendatore (Don Giovanni) and Claudio (Agrippina) in Santa Fe;Pogner (Die Meistersinger von Nürnberg) for Welsh National Opera; andFasolt (Das Rheingold) and Filippo (Don Carlo) for Opera North. Future seasonssee Mr. Sherratt return to the Royal Opera House–Covent Garden,Glyndebourne, the Metropolitan Opera, and English National Opera; he willalso make major debuts with the Lyric Opera of Chicago, Zurich Opera House,and Madrid’s Teatro Real.

Recent orchestral engagements include appearances with the Orchestra ofthe Royal Opera House with Antonio Pappano, the Philharmonia Orchestrawith Andrew Davis, the Hallé Orchestra with Mark Elder, the Mahler ChamberOrchestra with Daniel Harding, the Rotterdam Philharmonic Orchestra withHarry Bicket, the Monteverdi Choir with John Eliot Gardiner, the ScottishChamber Orchestra with Yannick Nézet-Séguin, and the Orchestre desChamps-Élysées and Deutsche Kammerphilharmonie Bremen with Louis Langrée.

Brindley Sherratt© SUSSIE AHLBERG



The Concert Chorale of New York’s performance highlights includeBeethoven’s Symphony No. 9 with Gianandrea Noseda, as well as Mozart’sRequiem with Louis Langrée. This summer the ensemble appeared at LincolnCenter Festival in Danny Elfman’s Music from the Films of Tim Burton andwith the Cleveland Orchestra in Strauss’s Daphne. At Mostly Mozart in 2013,the Chorale performed Rossini’s Stabat mater under Noseda. It has alsoappeared at the Caramoor Festival in productions of operas and oratorios.Other credits include the Brooklyn Academy of Music’s productions of PhilipGlass’s the CIVIL warS; John Adams’s Nixon in China; and productions of Didoand Aeneas, Vivaldi’s Gloria, Jesu, meine Freude, and L’Allegro, il Penserosoed il Moderato with the Mark Morris Dance Group. The Chorale has alsoworked with Gerard Schwarz at New York’s 92nd Street Y and with OpéraFrançais de New York conducted by Yves Abel. The group recently appearedwith the American Symphony Orchestra under Leon Botstein. Past highlightsinclude performances in Stravinsky’s Les noces at Lincoln Center, the NewYork premiere of Paul McCartney’s Ecce Cor Meum, and a performance ofAdams’s The Death of Klinghoffer conducted by the composer. The Choralealso participated in the Performing Arts Center, Purchase College’s performancesof works by Gilbert and Sullivan, as well as a concert series of Haydn, Bach,and Beethoven. It also performed in the highly acclaimed concert version ofRodgers and Hammerstein’s Carousel, conducted by Leonard Slatkin.Members of the Chorale have been featured in performances with the PetShop Boys and Sting. The ensemble men sang with the Chicago SymphonyOrchestra in a performance of Tristan und Isolde, and they performed in TheTristan Project with the Los Angeles Philharmonic at Avery Fisher Hall. TheChorale has recorded with CBS and Nonesuch Records.

James Bagwell maintains an active international schedule as a conductor ofchoral, operatic, and orchestral music. In 2009 he was appointed music directorof the Collegiate Chorale and principal guest conductor of the AmericanSymphony Orchestra, leading them in concerts at both Carnegie Hall and LincolnCenter. Some highlights of his tenure with the Collegiate Chorale includeconducting a number of rarely performed operas in concert, including Bellini’sBeatrice di Tenda, Rossini’s Moïse et Pharaon, and, most recently, Boito’sMefistofele. Mr. Bagwell conducted the New York premiere of Philip Glass’sSymphony No. 7 (“Toltec”) and Osvaldo Golijov’s Oceana, both at CarnegieHall. His performance of Weill’s Knickerbocker Holiday at Alice Tully Hall wasrecorded live for Gaslight Records and is the only complete recording of themusical. Since 2011 he has collaborated with singer and composer NatalieMerchant, conducting a number of major orchestras across the country, includingthe San Francisco and Seattle Symphonies. Other recent New York performancesinclude conducting Glass’s Another Look at Harmony at the Park Avenue

Concert Chorale of New York

James Bagwell



Armory and leading the Little Opera Theatre of New York’s production ofRossini’s Opportunity Makes the Thief.

Mr. Bagwell has trained choruses for a number of major American andinternational orchestras, including the San Francisco Symphony, Los AngelesPhilharmonic, Budapest Festival Orchestra, Cincinnati Pops Orchestra, andthe NHK, American, Cincinnati, and Indianapolis symphony orchestras. He hasprepared choruses with notable conductors such as Charles Dutoit,Gianandrea Noseda, Valery Gergiev, Zubin Mehta, Riccardo Muti, LorinMaazel, Esa-Pekka Salonen, Michael Tilson Thomas, Louis Langrée, IvánFischer, Vladimir Ashkenazy, Leon Fleisher, and Robert Shaw. He has taughtsince 2000 at Bard College, where he is director of the music program andco-director of the master’s program in conducting.


Lincoln Center’s Mostly Mozart Festival—America’s first indoor summermusic festival—was launched as an experiment in 1966. Called MidsummerSerenades: A Mozart Festival, its first two seasons were devoted exclusivelyto the music of Mozart. Now a New York institution, Mostly Mozart continuesto broaden its focus to include works by Mozart’s predecessors, contempo-raries, and related successors. In addition to concerts by the Mostly MozartFestival Orchestra, Mostly Mozart now includes concerts by the world’soutstanding period-instrument ensembles, chamber orchestras and ensem-bles, and acclaimed soloists, as well as opera productions, dance, film, late-night performances, and visual art installations. Contemporary music hasbecome an essential part of the festival, embodied in annual artists-in-residence, including Osvaldo Golijov, John Adams, Kaija Saariaho, Pierre-Laurent Aimard, and the International Contemporary Ensemble. Among themany artists and ensembles who have had long associations with the festivalare Joshua Bell, Christian Tetzlaff, Itzhak Perlman, Emanuel Ax, GarrickOhlsson, Stephen Hough, Osmo Vänskä, the Emerson String Quartet,Freiburg Baroque Orchestra, Orchestra of the Age of Enlightenment, and theMark Morris Dance Group.

Mostly Mozart Festival Orchestra

The Mostly Mozart Festival Orchestra is the resident orchestra of the MostlyMozart Festival, and the only U.S. chamber orchestra dedicated to the musicof the Classical period. Louis Langrée has been the Orchestra’s music direc-tor since 2002, and each summer the ensemble’s Avery Fisher Hall home istransformed into an appropriately intimate venue for its performances. Overthe years, the Orchestra has toured to such notable festivals and venues asRavinia, Great Woods, Tanglewood, Bunkamura in Tokyo, and the KennedyCenter. Conductors who made their New York debuts leading the MostlyMozart Festival Orchestra include Jérémie Rhorer, Edward Gardner, Lionel


Bringuier, Yannick Nézet-Séguin, Charles Dutoit, Leonard Slatkin, DavidZinman, and Edo de Waart. Mezzo-soprano Cecilia Bartoli, flutist JamesGalway, soprano Elly Ameling, and pianist Mitsuko Uchida all made their U.S.debuts with the Mostly Mozart Festival Orchestra.

Lincoln Center for the Performing Arts, Inc.

Lincoln Center for the Performing Arts (LCPA) serves three primary roles:presenter of artistic programming, national leader in arts and education andcommunity relations, and manager of the Lincoln Center campus. A presenterof more than 3,000 free and ticketed events, performances, tours, and educa-tional activities annually, LCPA offers 15 programs, series, and festivals,including American Songbook, Great Performers, Lincoln Center Festival,Lincoln Center Out of Doors, Midsummer Night Swing, the Mostly MozartFestival, and the White Light Festival, as well as the Emmy Award–winningLive From Lincoln Center, which airs nationally on PBS. As manager of theLincoln Center campus, LCPA provides support and services for the LincolnCenter complex and the 11 resident organizations. In addition, LCPA led a $1.2billion campus renovation, completed in October 2012.


Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingJill Sternheimer, Director, Public ProgrammingLisa Takemoto, Production ManagerCharles Cermele, Producer, Contemporary ProgrammingKate Monaghan, Associate Director, ProgrammingClaudia Norman, Producer, Public ProgrammingMauricio Lomelin, Producer, Contemporary ProgrammingJulia Lin, Associate ProducerNicole Cotton, Production CoordinatorRegina Grande, Assistant to the Artistic DirectorLuna Shyr, Programming Publications EditorClaire Raphaelson, House Seat CoordinatorStepan Atamian, Theatrical Productions Intern; Annie Guo, Production Intern; Grace Hertz, House Program Intern

Program Annotators: Don Anderson, Peter A. Hoyt, Kathryn L. Libin, Paul Schiavo, David Wright



Mostly Mozart Festival OrchestraLouis Langrée, Renée and Robert Belfer Music Director

Violin IRuggero Allifranchini,Concertmaster

Robert ChausowKatsuko EsakiSophia KessingerNelly KimKatherine Livolsi-Landau

Michael RothDorothy StrahlDeborah Wong

Violin IILaura Frautschi,Principal

Martin AgeeEva BurmeisterMichael GilletteLisa Matricardi Kristina MusserRonald OaklandMineko Yajima

ViolaShmuel Katz, PrincipalMeena BhasinDanielle FarinaChihiro FukudaJack Rosenberg

CelloIlya Finkelshteyn,Principal

Ted AckermanAnn KimAlvin McCall

BassZachary Cohen,Principal

Lou KosmaJudith Sugarman

FluteJasmine Choi,Principal

Helen CampoKathleen Nester

OboeRandall Ellis, PrincipalNick Masterson

ClarinetJon Manasse, PrincipalSteve Hartman

BassoonDaniel Shelly, PrincipalTom SefcovicMark Romatz,Contrabassoon

HornLawrence DiBello,Principal

Patrick Pridemore

TrumpetNeil Balm, PrincipalLee Soper

TromboneRichard Clark, PrincipalDemian AustinDon Hayward, Bass Trombone

TimpaniJason Haaheim,Principal

FortepianoRenee Louprette,Principal

Librarian Michael McCoy

Personnel ManagersNeil BalmJonathan HaasGemini MusicProductions Ltd.

Get to know the Mostly Mozart Festival Orchestra musicians at MostlyMozart.org/MeetTheOrchestra

© JENNIFER TAYLOR 2014



Concert Chorale of New YorkJacqueline Pierce, Artistic Administrator

SopranoWendy Baker Gail Blache-Gill Miriam Chaudoir Eileen Clark Margery Daley Toni Dolce Lori Engle Sarah Griffiths Phenisher Harris Melissa Casey Jose Margarita Martinez Lara Stevens Elena Williamson

AltoBo ChangEsther DavidEmily EyreSarona FarrellYonah GershatorWendy GillesKristin GornsteinErin Kemp*Nedra NealTami PettyJacqueline PierceRhesa Williams

TenorJames Bassi Martin Doner Brian Giebler Walker Jackson John Kawa Adam MacDonald Drew Martin Steven Rosser Nate Widelitz

BassDaniel AlexanderDennis BlackwellMischa FrusztajerRoderick GomezDominic InferraraConor McDonaldSteven MooreJoseph NealMark RehnstromScott WheatleyLewis White

* Soloist


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